Publications & Catalogues

Stjepan Planić: Problemi savremene arhitekture Zagreb, 1932. 23x31 cm 240pp Tvrdi uvez In Planiæ's practice of building detached houses on hills and green slopes of woodlands of the Sljeme, the regulation defining that living spaces should be looking on the street, opening the possibility of a representative façade, and the utility spaces at the back of a house, proved to be senseless and unreasonable. One of his earliest projects, a house in Jabukovac, will from that time on serve as an example of an architect's victory in his endeavours to create architecture "intended for the better life of man". Planiæ's belief in humanistic principles of the modern architecture, his persistence in the struggle to realise them and the strength of his argumentation, with considerable quantity of his personal charm, won him the triumph in confronting the regulations. It would "in the future be the aim of progress, not an obstacle." He spoke of this optimistic delusion of his, from that time, on the occasion of receiving the Life Achievements Award "Vladimir Nazor" in 1968. "The struggle for the modern is not yet won." The drawings accompanying Planiæ's projects during the interwar period witness of his personal friendship with a distinctive and a great painter Ernest Tomaševiæ, who graphically designed a number of Planiæ's articles, exhibitions and competition works. Planiæ's opus, with 700 projects and realisations, as far as we know, belongs to the most numerous and is also one where family houses prevailed around which he designed gardens. In the most individual and authentic manner he applied the vocabulary of the two idioms of the contemporary architecture - the international functional and the regionally organic. Combining the two on a structural level he created works (the stereometrically pure Round Villa in Gornje Prekrižje, the Tomislav Mountaineers Home of an Y- layout from the thirties and the cube-house from the fifties), which are anthology examples of the 20th century art memorials, as well as of the entire Croatian architecture. My assumption is that the Zagreb School of modern architecture managed to realise syntheses hard to find elsewhere, primarily in the works of Drago Ibler and Stjepan Planiæ. I believe that when explaining the Zagreb school of modern architecture, as we call it, it would be proper to apply a thesis of Ljubo Karaman, our local art historian of "creating the freedom of a peripheral environment", instead of inappropriately importing hypotheses pertaining to literature and ideology. It can explain the specificity of Ibler's and Planiæ's opuses in an infinitely more objective and convincing manner, even of the Zagreb school of modern architecture as a whole. As distinguished from a provincial milieu adopting norms and imitating solutions of great centres, Karaman believes a peripheral milieu to be the one sufficiently distanced from more powerful cultural centres (and norms and dogmas dominating them) and according to him Croatia is a typical country suited to this notion. It offers an artist greater freedom of creation, without respect for the sometimes-rigid criteria ruling great centres and power-focuses, gives him a chance to draw from two or more sources and to make creative synthesis in auspicious moments. In the earlier mentioned Stjepan Planiæ's book just about every published example is of a building ending with a living terrace and a flat roof, it is almost a manifesto. These were the common qualities of the represented projects and works. Perhaps at the time they displayed the most expressive mark of distinction from the historical, particularly the historicism architecture of roofs and metal domes of Zagreb. Stjepan Planiæ, speaking in a documentary from 1978, standing on a terrace of a multi-storey building in the Petriæ's Street 5, on the so-called “Zakladni blok” in the heart of Zagreb, designed by himself, alluded to the continuity of forms and to the significance of a terrace in the architecture of ancient civilisations and not to the paragons of contemporary building. Gesturing towards the tin dome of the First Croatian Savings Bank building, the popular Octagon, he said: "All these roofs, all these domes were the composition equipment of the preceding generation, which was then called great architecture. Driven by an aspiration to bring gardens into the centre of the city, to offer a man in urban environment a commodity of a meadow, brook, or a forest, we realised them on terraces where they blossom even today. The hanging gardens of the Queen Semiramis are not a dream, this terrace realised 40 years ago proves that, it literally realises a connection between a man and the juices of nature." "To organise life…" as Planiæ often repeated, did not mean to impose solutions, but to creatively answer the demands of life and harmoniously resolve human needs within the architectonic space. Besides writing (to begin with a book for adults "Problems of Contemporary Architecture," from 1932, to "Culture of Living," from 1985, intended for children) Planiæ wanted to effect immediate influence on individuals and small family communities. For that, he would always find time. "Three Letters on Housing" were just an example and a pattern, a drop in the ocean of talks and interpretations that Planiæ had led with the people he built houses for or with those who wanted him to design a home for them. During the seventies I often drove Planiæ on his tours of construction sites and the adaptation of my terrace apartment was taking place at that time, too. I observed a relationship of true respect and absolute obedience on the part of his craftsmen, regardless of whether they worked with him for forty years or had been engaged only recently. It was rather unusual, since in his designs and in his demands on craftsmen Planiæ always went further, often demanding new, bold and uncommon procedures. Construction carriers designed by Planiæ would, as a rule, be more slender than others were, his windows were bigger (not to mention that they were of better proportions) than those in the neighbourhood. He often "broke" the regulations of dimensioning (excessive, as a rule, due to safety precautions). He defined them according to proportions, according to the formative criteria of the whole. For example, a board of reinforced concrete of a balcony usually appears thickset and in the Round Villa (1936), the round balcony board girding three quarters of the cylindrical body of the villa is deeply protruded into space, boldly thin, elegantly elevated in space. "It even vibrates a little," commented Planiæ. That was the earliest example I can recall. In his inexhaustible creativity he always made room for something new, ranging from the use of building materials and construction to the formation. It was particularly evident in the organisation of space, which he kept returning to in his later projects, most often dealing with a dynamic play in connecting of different levels within a flat.

Skopje: Potres / EarthQuake 26.07.1963. Skopje: 26.07.1963. Potres. Luksuzno izdanje, napravljeno za državnike i diplomaciju. Mekana, fina koža.

Published between 1997 and 1998, seven issues in total. Publisher: Arkzin, Zagreb. Publishing manager: Vesna Janković. Editor-in-chief: Dejan Kršić. Arkzin was a periodical published in Zagreb, Croatia, from 1991 to 1998. It began as a political fanzin

Kunst der sechziger / Jahre 5. erweiterte Auflage. Art of the Sixties / 5th revised edition Mint condition Koln, Wallraf-Richartz Museum, LUDWIG COLLECTION, 1971. Hardcover bound in plastic embossed covers held with heavy metal screws. Fifth Revised Edition. Large 4to. 10 x 12 x This final fifth edition includes 222 objects, 124 more than appeared in the first edition.Illustrated with 209 color plates showing the work of 92 artists of the 1960's pop-art era; part of the private collection of Peter Ludwig. Introductory text and lexicon in German and English. Catalog is organized in alphabetical order by artist; titles are in German and English; biographies of the artists and descriptions of their work are in German, including Dine, Dubuffet, Hockney, Jasper Johns, Lichtenstein, Oldenburg, Picasso, Rauschenberg, Vostell, Warhol, and Wols. This is the definitive fifth revised edition of this famous and striking exhibition catalogue, which is itself a work of art. Wolf Vostell designed the catalogue for the Ludwig collection of contemporary art, given as a permanent loan to the Wallraf-Richartz Museum in Cologne

Ezra Pound in Italy: From the Pisan Cantos. By Gianfranco Ivancich (Editor), Vittorugo Contino (Photographer). Copertina rigida stampata e laminata. Spots and Dots. Ezra Pound in Italy from the Pisan Cantos. Annotated by Olga Rudge. Venice: Grafiche Le.

Trigon 67: Ambiente/Environment Two volumes Graphic design catalogue Yugoslavia and Germany (Mario Ceroli, Gianni Colombo, Luciano Fabro, Enzo Mari, Giuseppe Uncini, Jaki-Joza Horvat, Ivan Picelj, Vjenceslav Richter, Miroslav Sutej, Drago Trsar, Marc Adrian, Roland Goeschl, Oswald Oberhuber, Josef Pillhofer, Rudolf Pointner, Jorrit Tornquist). Text in German, Italian and Croatian.

Galerija Studentskog Centra, Zagreb, 1974. godine. One Man Show, Action. Tisak; Vjesnik, Zagreb.

Trigon 75/2 - Documentation: International Symposium on the Function of Art) Italia: Mario Ceroli, Giulio Paolini, Michelangelo Pistoletto, Franco Vaccari, Sillani Yugoslavia: Damnjan, Nedjeljko Dragić, Vjenceslav Richter, Andraž Šalamun, Miroslav Šutej Austria: Fritz, Hoffmann, Lassing, Lesak, Mayr, Ruhm, Peter Weibel 23x24cm In nice condition.

Ivan Kožarić: GSU, 1969. Katalog izložbe u Galeriji suvremene umjetnosti, Zagreb 1969. Predgovor Igor Zidić Fotografije Branko Balić Katalog i plakat, design Ivan Picelj Postav izložbe Dimitrije Bašičević Mangelos

Raul Goldoni: Oblici u staklu. Katalog izložbe u Muzeju za umjetnost i obrt, Zagreb 1967. godine. Postav izložbe Edo Kovačević. Oprema kataloga i plakat Ivan Picelj. Ponuda uključuje i pet originalnih fotografija objavljenih u katalogu sa opisima na poleđini, . Zvonimir MIkas - broj 31.

Ivan Meštrović: Dennoch will ich hoffen...Ein Weihnachtsgespräch (Ipak se nadam ili Božićni razgovori) Knjiga refleksija Rascher Verlag, Zürich, 1945.

Belgrade. Formal/Informal: A Research on Urban Transformation ETH Studio Basel Contemporary City Institute [Editor] By Roger Diener, Marcel Meili, Christian Mueller Inderbitzin Scheidegger and Spiess, 2012. Hardcover Design Ludovic Balland. ETH Studio Basel, an institute of urban research, undertakes projects that explore the evolution of the contemporary city, looking specifically at how cities transform over time and interact with material space. Belgrade. Formal / Informal presents the fascinating findings of ETH Studio Basel’s research in the former Yugoslavian and now Serbian capital, investigating in particular the city’s development following the international embargo against the Milosevic regime after the Yugoslavian wars of separation in the 1990s until the present day. This richly illustrated book explores in depth how Belgrade has changed throughout years of upheaval and economic shortage. It shows the result of the interplay between guided and accidental urban planning and construction and the varied architecture that has emerged from this. In essays by architects and urban planners, Belgrade is presented as an example of how contemporary cities develop in an increasingly global community. Of interest to architects and planners, Belgrade. Formal / Informal provides a model of how cities spatially adapt to the constantly expanding needs of their inhabitants.

Die Nibelungen (UFA, 1924). German Program (24 Pages) (5" X 7.25"). Fantasy. This is an rare original country of origin German premiere program for Fritz Lang's silent masterpiece Die Nibelungen, released by Decla-UFA in 1924. The film was show

Sjajna naslovnica nepoznatog autora za časopis Foto amater - mesečnik za foto in kino umetnost, Ljubljana 1933. godine. Urednik Leo Novak. Zanimljive reprodukcije autora Janko Skerlep, Ante Kornič, Gradu - Lumier Portrait de Benjamin, reklame. Stanje - a

Govor riječi i prostora - Josip Stošić, katalog za izložbu iz 1972. godine. Layout kataloga Ivan Picelj. Plakat Mihajlo Arsovski. Naklada 500.

Mohácsi Jenő: Stella The cover, the typography and illustrations designed by László Reiter. szerző aláírásával

Publikacija (dvojezična: hrvatski i engleski jezik) povodu samostalne izložbe i akcije u Galeriji suvremene umjetnosti 14.10.1974. godine. Marina Abramovic. Gallery of Contemporary Art. Zagreb, Croatia. 1974.

Katalog za izložbu Marc Chagall, Zagreb 1967. godine. Uključuje grafiku Marca Chagalla. Urednik Božo Bek. Postav izložbe Mića Bašičević Mangelos. Plakat i prelom kataloga Ivan Picelj. Predgovor na francuskom i hrvatskom jeziku Yvon Taillandier. U odličnom

Luksuznog, neuobičajenog formata 10x10 cm, koža. Knjiga katalog Galerije Izlog, Oktogon, Zagreb 1974-1979. Postav izložbi i komentari Zdravko Tišljar. Oblikovanje kataloga i crtež oka Željko Šegović. Tisak kataloga Krešimir Stefanović. Naklada 500.

SKC su osnovali 1968. Beogradski univerzitet i Univerzitetski odbor Saveza studenata Beograda, a 1992. ingerencije osnivača preuzela je Vlada Srbije. SKC je svečano otvoren 3. aprila 1971. prigodnom akademijom, ali je ubrzo oznacio prekretnicu u domacoj k

Cybernetics, Art, and Ideas - Jasia Reichard. Nema podataka ni u nacionalnim bibliotekama. Djelomično izdanje čuvene Cybernetics, Art, and Ideas, izdanje čini dio The digital Computer Art as a Creative Medium. Ćirilica. Stanje - odlično. Cybernetics, Ar

Inovacije; Katalog / publikacija povodom jedne od najvažnijih izložbi suvremene umjetnosti 70-ih. HDLU / Galerija Karas, Zagreb 1977. godine. Velikog formata 35x50cm, 12 stranica. Urednik izdanja Nenad Opačić, Predgovor i postav izložbe Ida Biard. Grafičk

Galleria del Cavallino Cataloghi 1971. Pagine: 130 La nuova Grafica, Luciano Celli, Antonio Carena, Mauro Raffini, Guido Sartorelli, Rosalda Gilardi, Cobra, Gino Morandis, Miroslav Šutej, Sguardo a Nord-Est, Bruno Saetti, Paolo Patelli, Enzo Degni, Giorgio Teardom Robert Indiana

Lijepo dizajnirana tri kataloga, u zasebnom etuiu,za Bienalle di Venezia iz 1972. godine. Vjenceslav Richter, Vladimirom Veličkovićem. Dušan Otašević. Urednica Irina Subotić. Tekstovi na engleskom i talijanskom jeziku Irina Subotić i Miodrag B. Protić. Layout kataloga Kosta Bogdanović. Fotografije Hristifor Nastasić. Stanje - odlično.